Flying Luttenbachers and Weasel Walter

I Flying Luttenbachers vennero formati nel tardo 1990 a Chicago dal sassofonista jazz Hal Russell e soprattutto dal batterista Weasel Walter (unico membro fisso negli anni successivi), che nel frattempo stava componendo la suite The Final Solution (1992), uscita solo su cassetta.

Dopo due EP, 546 Seconds Of Noise (UgExplode, 1992), con gli spasimi esplosivi di Attack Sequence e Life Of Grime, e 1389 Seconds Of Noise (UgExplode, 1993), nel 1994 un quintetto comprendente Walter, Chad Organ (sassofono), Ken Vandermark (sassofono e clarinetto), Jeb Bishop (basso e trombone) e Dylan Posa (chitarra), pubblico` l'album Constructive Deconstruction (Explode, 1994 - 1996), comprendente il comico The Critic Stomp, First Through Glass, e alcune elucubrazioni free-jazz (Eaten By Sharks, Coffehouse In Flames).

Su Destroy All Music (Explode, 1995), con Vandermark a mezzo servizio, brillano Una violenza e una frenesia mutuate forse da John Zorn detonano Demonic Velocities, Splurge, Dance Of The Lonely Hyenas. The Necessary Impossibility of Determinism e Turbo Scratcher conservano gli spasimi nevrotici funk-jazz-rock di Contortions e Pop Group.

Weasel cambia completamente collaboratori per Revenge (Skin Graft, 1996): Chuck Falzone (chitarra), Bill Pisarri (basso, violino e clarinetto) e Weasel Walter (batteria e sassofono) costituiscono la nuova formazione. Il suono ha abbandonato le tinte jazz dei primi lavori, a favore di un approccio piu` sperimentale e miniaturistico, nello stile del punk-jazz dei God Is My Co-pilot. Manifesto del nuovo corso e` Storm Of Shit, i cui martelli pneumatici si collocano al confine fra Neu e Chrome, Mars, DNA, free-jazz, grindcore e musica industriale. Da li` in poi i pandemoni grossolani di questo disco sono figli ideologici dalla violenza inusitata della generazione punk, ma ben rappresentano la nevrosi esasperata e la crisi di affabulazione della generazione X. Clank riparte proprio dai ritmi trasvolgenti dei Neu e dalle distorsioni stordenti dei Chrome, mentre Mercury Retrograde rimanda alle micro-sinfonie nervine di Mars e DNA. Spasms e Death Ray sono sketch dell'assurdo che discendono dal Trout Mask Replica di Captain Beefheart (accordi concitati, battito spastico, polifonia catastrofica). Al culmine del parossismo, Murdermachinemuzak esplode come un siluro hardcore e Holy Mountain si disintegra in un caos di rumori percussivi. Il brano piu` musicale e` Thoughts For Americans, che sembra un ballo voodoo-surf crivellato da roditori. Su tutti i brani aleggia un'atmosfera apocalittica.

The Truth Is A Fucking Lie (Skin Graft, 1999) is virtually free-jazz chamber music for cello, trumpet, clarinet, violin and drums. The futuristic jamming of The Truth Is A Fucking Lie and the noise symphony Black Perversion rank among their masterpieces.

The five jams of Alptraum (Ugexplode, 2000) and the eleven untitled jams of the limited-edition double album Trauma (Ugexplode, 2001), recorded in february 2000, feature Weasel Walter on drums, Kurt Johnson on standup bass and Michael Colligan on drums. The music is more closely related to the free jazz of Albert Ayler than to prog-rock.

Flying Luttenbachers' Infection And Decline (Troubleman Unlimited, 2002) introduces the new trio (drummer Weasel Walter and two bassists, Jonathan Hischke and Alex Perkolup) through five prog-rock suites and one long Magma cover.

Gods Of Chaos (Skin Graft, 1998) e' una suite in sei movimenti apocalittica che conferma il loro status di consapevoli eredi di Captain Beefheart, Pere Ubu e Contortions. The Sun Is Bleeding e' l'apice di otto anni di esperimenti.

The Truth Is A Fucking Lie (Skin Graft, 1999) e' virtuale musica da camera free-jazz per violoncello, tromba, clarinetto, violino e batteria. Il futuristico jamming di The Truth Is A Fucking Lie e la sinfonia noise Black Perversion sono due dei loro capolavori. Le cinque jam di Alptraum (Ugexplode, 2000) e le undici jam senza titolo del doppio album a tiratura limitata Trauma (Ugexplode, 2001), registrato nel febbraio 2000, propongono Weasel Walter alla batteria, Kurt Johnson al basso standup e Michael Colligan alla batteria.

Systems Emerge From Complete Disorder (Trouble Man Unlimited, 2003) is a solo Weasel Walter album. He plays drums, bass, piano, guitar and electronics, and dispenses (for the most part) with the horns that were the project's jazz credentials. Nonetheless, the 20-minute brutal epics Rise Of The Iridescent Behemoth ranks as his most free-jazz "jam" (admittedly, a one-man jam) yet. The eccentric, acrobatic, breakneck stylistic convulsions of Thrumm'd HTE for M and Thorned Lattice, and of the three-movement Kkringg Suite, concoct a unique synthesis of Edgar Varese, Harry Partch, Frank Zappa, the Contortions and John Zorn. Occasionally, the latter also sound like excerpts from an instrumental version of Captain Beefheart's Trout Mask Replica

The frantic noise-core of Eruption (Grob, 2003) was a collaboration with guitarist Kevin Drumm and cellist Fred Lonberg-Holm.

The Flying Luttenbachers on Void (Troubleman Limited, 2005) was a traditional guitar-bass-drums trio, and played guitar-driven power-rock. Whoever they were trying to emulate, the joke did not work too well.

The restless guitars of Ed Rodriguez (Gorge Trio, Colossamite, Iceburn) and Mick Barr (Orthrelm) lend Cataclysm (ugExplode, 2006) a hysterical and punkish feeling. It is one of the most violent albums of Weasel Walter's career.

Systems Emerge From Complete Disorder (Trouble Man Unlimited, 2003) è un album solo di Weasel Walter. Suona batteria, basso, piano, chitarra e strumenti elettronici, ma a dominare sono perlopiù le trombe, che rappresentano la credenziale jazz del progetto. Ciononostante, i brutali ed epici venti minuti di Rise Of The Iridescent Behemoth costituiscono la sua maggiore "jam" free-jazz (una dichiarata one-man jam). L'eccentrica, acrobatica, ricca di ardite convulsioni stilistiche Thrumm'd HTE for M and Thorned Lattice, oltre ai tre movimenti di Kkringg Suite, rappresentano una sintesi unica di Edgar Varese, Harry Partch, Frank Zappa, the Contortions e John Zorn. Kkringg Suite suona di quando in quando come fosse un estratto da una versione strumentale di Trout Mask Replica di Captain Beefheart. Lo spaventevole noise-core Eruption (Grob, 2003) fu una collaborazione con il chitarrista Kevin Drumm ed il violoncellista Fred Lonberg-Holm. The Flying Luttenbachers on Void (Troubleman Limited, 2005) fu un tradizionale trio chitarra-basso-batteria, con power-rock dominato dalla chitarra. Chiunque tentassero di emulare, funzionò poco.

Le chitarre irrefrenabili di Ed Rodriguez (Gorge Trio, Colossamite, Iceburn) e Mick Barr (Orthrelm) diedero a Cataclysm (ugExplode, 2006) un feeling isterico e punkeggiante. E' tra i più violenti album della carriera di Weasel Walter.

Incarceration by Abstraction (2007) is credited to the Flying Luttenbachers but it is de facto a solo by Weasel Walter who plays all instruments.

Opulence (2008) documents a live collaboration between Weasel Walter and guitarist Mary Halvorson.

Weasel Walter's Apocalyptik Paranoia (july 2008) documents performances with Henry Kaiser on acoustic and electric guitars, Peter Evans, Greg Kelley and Forbes Graham on trumpets, and Fred Lonberg-Holm on cello.

Weasel Walter's Invasion (january 2009 - UgExplode, 2010) featured a septet with with Henry Kaiser (guitar), Vinny Golia (reeds), Damon Smith (bass), Liz Allbee (trumpet), John Lindberg (bass), William Winant (drums). The 33-minute Nautilus Rising feels anemic in that the "music" is limited to disjointed free-form phrases. Trumpet and saxophone are nervous about starting a dialogue. The rest feels the awkward psychology and refrains from playing forcefully. The guitar eventually breaks the ice with a lengthy distorted solo, and then everybody launches into a chaotic jam. The second half is much more lively. Again, it's the guitar that shines, thanks to Kaiser's passion for "sawing" timbres. The horns, instead, continue to disappoint with their vague and undecided moves. By comparison, the shorter Flesh Strata presents a much more effective (even incendiary) case of sax-driven interplay, with both the sax and the guitar engaging in noisy emissions at lightning speed. The 22-minute Invasion opens with an even louder and faster solo of dissonant guitar and then stays the course for a while, blending the agonizing noise of the guitar with the hysterical acrobatics of the saxophone at the rhythm of a thousand drums. This time the interplay achieves a scary intensity, reminiscent of action movie soundtracks. The contribution here is truly collective, and eventually achieves a sort of propulsive quality thanks to synchronized droning by the horns.

Weasel Walter's prolific career expanded in all directions. Electric Fruit (2011) was a noisy collaboration with guitarist Mary Halvorson and trumpetist Peter Evans, followed by Mechanical Malfunction (Thirsty Ear, 2012). Ominous Telepathic Mayhem (Ugexplode, 2011) collects pieces recorded in various sessions between september 2008 and july 2011 by a quintet with Peter Evans (trumpet), Mary Halvorson (guitar), Darius Jones (alto sax) and Alex Ward (guitar and clarinet).

Weasel Walter, bassist Damon Smith (also on computer laptop and field recordings) and guitarist Sandy Ewen recorded Untitled (november 2011 - ugEXPLODE, 2012).

Incarceration by Abstraction (2007), accreditato ai Flying Luttenbachers, è di fatto un solo di Weasel Walter, che vi suona tutti gli strumenti. Opulence (2008) documenta una collaborazione dal vivo tra Weasel Walter e la chitarrista Mary Halvorson. Apocalyptik Paranoia di Weasel Walter (luglio 2008) documenta esibizioni con Henry Kaiser alla chitarra acustica ed elettrica, i trombettisti Peter Evans, Greg Kelley e Forbes Graham, e Fred Lonberg-Holm al violoncello.  Invasion di Weasel Walter (gennaio 2009 - UgExplode, 2010) fu un lavoro a sette con Henry Kaiser (chitarra), Vinny Golia (ance), Damon Smith (basso), Liz Allbee (tromba), John Lindberg (basso), William Winant (batteria). I 33 minuti di Lecter Nautilus si avvertono anemici essendo la "musica" circoscritta a fasi free-form disgiunte. Tromba e sassofono sono ansiosi di avviare un dialogo. Il resto risente della goffa psicologia e si astiene dal suonare con forza. La chitarra rompe finalmente il ghiaccio con un lungo assolo distorto, e poi tutti si lanciano in una jam caotica. La seconda metà è ben più vivace. Anche in questo caso è la chitarra che brilla, grazie alla passione di Kaiser per "segare" timbri. Ogni corno continua invece a deludere, con mosse vaghe e indecise. In confronto, il più breve Flesh Strata presenta in un caso un'interazione molto più efficace (anche incendiaria) guidata dal sax, con il sax e la chitarra impegnati in velocissimi noise. I 22 minuti di Invasion si aprono con un assolo di chitarra dissonante ancora più forte e più veloce, proseguendo allo stesso modo nel mescolare il rumore straziante della chitarra con le acrobazie isteriche del sassofono al ritmo di mille tamburi. Questa volta l'interazione raggiunge un'intensità spaventosa, che ricorda colonne sonore di film d'azione. Il contributo qui è veramente collettivo, ottenendo alla fine una sorta di qualità propulsiva grazie al ronzio sincronizzato da ogni corno. La prolifica carriera Weasel Walter espanse in tutte le direzioni. Electric Fruit (2011) fu una collaborazione noise con la chitarrista Mary Halvorson e il trombettista Peter Evans, seguita da Mechanical Malfunction (Thirsty Ear, 2012). Ominous Telepathic Mayhem (Ugexplode, 2011) raccoglie brani registrati in varie sessioni tra settembre 2008 e luglio 2011 da un quintetto con Peter Evans (tromba), Mary Halvorson (chitarra), Darius Jones (sax alto) e Alex Ward (chitarra e clarinetto). Weasel Walter, il bassista Damon Smith (anche su computer portatile e registrazioni sul campo) e il chitarrista Sandy Ewen registrarono Untitled (novembre 2011 - ugEXPLODE, 2012).

Improvisations (Bug Incision, 2013) documents a 2007 collaboration of drummer Weasel Walter with pianist Charity Chan and bassist Damon Smith.

Weasel Walter joined Behold the Arctopus, the trio formed by Colin Marston and Mike Lerner.

Walter's Unplanned Obsolescence (2012) contains three lengthy improvisations with sax & synth player Chris Pitsiokos.

Weasel Walter's Firestorm (february 2007) documents three different projects with Damon Smith (acoustic bass), Elliott Levin (tenor sax), Marshall Allen and Marco Eneidi (alto sax), Mario Rechtern (alto, sopranino & zurna saxes) Lisle Ellis (bass) and Marc Edwards (drums). Blood Of The Earth (november 2009) was a collaboration with fellow drummer Marc Edwards, Darius Jones (alto sax), Elliott Levin (tenor sax and flute), Adam Lane (bass) and Forbes Graham (trumpet). Ewin-Smith-Walter (2013) features a trio with Sandy Ewen on guitar and Damon Smith on 7-string electric upright bass & laptop.

The Weasel Walter Quartet (alternating John Gruntfest and Aram Shelton on alto saxes, Josh Allen on tenor sax, Damon Smith on contrabass, Randy Hunt on bass and Henry Kaiser on guitar) recorded Revolt Music (ugExplode, 2013) between december 2005 and october 2006.

The live Cryptocrystalline (january 2013) documents a quartet with Charity Chan on piano, Peter Evans on trumpets, Tom Blancarte on bass and Weasel Walter on drums.

A quartet consisting of Weasel Walter (drums), Paul Flaherty (tenor and alto saxes), Steve Swell (trombone) and Spencer Yeh (violin and voice) recorded the improvisations of Dragonfly Breath (may 2011).

Weasel Walter, Kevin Shea (drums, percussion, electronic drums and vocals) and Matt Mottel (synthesizer, electronics, vocals) collaborated on Keep Your Laws Off My Body (2009), later re-released as Polyp (2009 - MNOAD, 2014).

Drawn And Quartered (may 2014 - One Hand, 2015) documents improvisations with alto saxophonist Chris Pitsiokos.

Walter's improvisational trio Deadly Orgone Radiation, featuring Guapo's James Sedwards on guitar and Alex Ward on guitar & alto sax, released Power Trips (Copepod, 2015).

The solo album Curses (january 2016) featured Walter on several instruments (drums, cymbals, bells, rattles and assorted insect-like Euro-improv sounds) and contains 99 brief pieces to be played "either in sequence or random shuffle order, offering a virtually endless variety of listening experiences".

The Weasel Walter Large Ensemble debuted on Igneity - After The Fall Of Civilization (april 2015): Brandon Lopez and Tim Dahl on double bass, Alan Licht, Henry Kaiser and Chris Welcome on guitars, the quartet sax of Chris Pitsiokos, Jim Sauter, Matt Nelson and Michael Foster, Steve Swell on trombone, Peter Evans on trumpet and Dan Peck on tuba.

A Pound of Flesh (2017) is a four-disc set collection that includes the 43-minute Manticore, the 32-minute The Inevitable, and the 40-minute Half-Death.

Weasel Walter's Idiomatic (september 2017) documents improvisations with Sandy Ewen (guitar).

Poisonous (january 2018) was a collaboration with trumpeter Peter Evans.

Skhiizm (recorded between july 2014 and september 2017) was a solo album performed on vocals, guitar, bass, electronics and drums, notably the 20-minute The Hangover Heart Attack Variations.

Astral Plane Crash (april 2018) documents two lengthy improvisations by Vinny Golia (flute, sopranino, soprano, baritone saxes, saxello, Bb clarinet, piccolo), Henry Kaiser (guitar), Bob Moses and Weasel Walter (both on drums, percussion) and Damon Smith (amplified double bass): the 44-minute Fountain of Dreams and the 35:30-minute Mysterious Journey.

Walter's sprawling solo Curses (january 2016) consists of four parts for a total of 99 tracks.

Peter Evans (trumpet) and Weasel Walter (drums) recorded the improvisations of Poisonous (january 2018).

Walter played percussion and electronics with guitarist Sandy Ewen in the three long improvisations of Idiomatic (september 2017). He then recorded Flayed (march 2019) with Jeb Bishop (trombone, electronics) and Alex Ward (guitar, clarinet).

Shattered Dimension (november 2018), the Flying Luttenbachers' first album in more than a decade, reunited Brandon Seabrook (guitar), Matt Nelson (tenor sax) and Tim Dahl (electric bass). Cripple Walk is cerebral and dissonant and sets the tone for the rest, although Epitaph also exhibits grotesque, Dada and somewhat grandiloquent overtones while Sleaze Factor indulges in viscerally disordered interplay. The 22-minute Mutation begins with eight minutes of a torrential flow of hysterical strumming and drumming, whereas the second half is more conventional mid-tempo prog-rock.

Imminent Death (ugEXPLODE, 2019), documenting the new lineup with Henry Kaiser & Brandon Seabrook on guitars, Matt Nelson on soprano, alto & tenor saxes, Tim Dahl on bass guitar and Weasel Walter on percussion and electric sitar, contains rowdy chaotic jams halfway between space-rock and free-jazz like Praalude (10:22) and Grants Residencies and Trust Funds (11:59) and ends with the gothic The Stomp.

The Paradox Of Tolerance (january 2021) contains three compositions by Weasel Walter titled after their durations (notably the 42:29), accompanied on guitar and "objects" by sound and visual artist Sandy Ewen.

The Flying Luttenbachers' Negative Infinity (november 2020) featured Weasel Walter on drums, Katie Battistoni on guitars, Mat Nelson on tenor sax, Tim Dahl on electric bass and Sam Ospovat on drums, and contains the 19-minute On the Verge of Destruction. Walter drafted the same combo to record the two improvisations of Terror Iridescence (october 2021): Negative Infinity the 21:30-minute Mereydth Herold and the 22-minute Tom Smith.

In The Absence Of Compromise (Imploding Sounds, 2022) contains two live recordings with Dominika Michalowska (vocals, electronics, words) and Michael Foster (soprano sax, electronics), the first (39 minutes) from february 2020 and the second (33 minutes) from may 2019.

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